The North American Tour for Julien Baker is well underway, with her headlining show at The Beacon Theatre on, Tuesday , September 14 marking a significant milestone in her career. A packed crowd cheered on as she played hits from her catalogue, including several tracks from her latest album, Little Oblivions, which released earlier this year. Thao and Mini Trees opened up the show.
Julien Baker at Beacon Theatre, Photographed by David ReichmannJulien Baker at Beacon Theatre, Photographed by David Reichmann
Mini Trees opened up the show with songs from their debut album Always In Motion, which you can pre-order here.
Mini Trees at Beacon Theatre, Photographed by David Reichmann
Thao fired up the crowd with a lot of energy during their set. Their setlist included the track Marrow from their latest album Temple, which released in 2020.
Julien began her set with the emotional and hard-hitting track Hardline, her latest album’s opening track. She played a wide range of songs, from the quietest and loudest moments in her catalogue. You can see the full setlist here.
JulienBaker at Beacon Theatre, Photographed by David Reichmann
Between songs Julien joked about how strange is was to be in a fully vaccinated and (partly) masked audience, thanked her New York audience for making the evening possible, and remarked on how strange this tour was compared to her last.
Julien Baker at Beacon Theatre, Photographed by David Reichmann
You can check out Julien Baker’s latest album here and view her remaining Fall Tour dates here.
Julien Baker at Beacon Theatre, Photographed by David ReichmannThao at Beacon Theatre, Photographed by David ReichmannJulien Baker at Beacon Theatre, Photographed by David Reichmann
On the evening of September 9, 2021, a cacophony of spiked collars, fluorescent shorts, and favorite faded tee assembled under the Webster Hall Marquee holding the words SLEIGH BELLS. Vaccine cards in hand, fans appeared to be patient, but closer investigation revealed fingers tapping, shoulders curling and wide eyes darting.
Why the underlying excitement? Because this night celebrated the 10 year anniversary for Sleigh Bells and the release of their newest album, Texis. The sold-out, fully-vaxxed show had dedicated fans yearning to show appreciation for the band’s providing a depth of meaning far deeper than casual.
The energy reflected that night felt like an expression of survival among diverse fans that were grateful to their two heroes, Alexis Krauss and Derek Edward, for providing escape, protection, and tools for self love in order to go on in this world with a head held high.
The ferocity in the fans was unhinged. The darkness and strobes mixed with the bass and tempo perfectly, showcasing the dynamic range of response. A true reflection of the diversity and adversity many fans have experienced due to who they are and who they love.
Sleigh Bells singer Alexis Krauss recalled recognizing nearly all fans in the crowd. Like the recently released song “True Seekers,” fans did not hesitate to drive from places like Washington D.C. and Georgia for this special night.
Motif of duty seemed to resonate throughout the night. It was the responsibility for fans to let go of all the emotions trapped in the safe space both medically and metaphysically. Acceptance to show up as one’s true self allowed for joy to spark a fire that burned away all distractions from the world that existed outside of this hallowed hall.
The short version is Sleigh Bells is my fav band—it’s hard to describe why they’ve had such a profound impact on my life thru the years, but ever since the release of Treats, I can’t get enough Lol so my husband and I came all the way up from Atlanta to see this show! It was so cathartic in the age of covid…I cried after the show just from pure bliss of remembering concerts past…when you go to a Sleigh Bells show, you’ve got to bring the energy & it give it everything you’ve got! And that’s just what we did.
A True Seeker
To tie the ribbon on this musical gift, Sleigh Bells provided a sensory experience conducive for fans to walk together into the void as their authentic selves. Alexis and Derek played fast, loud and with love. New songs and old, the band paid respects to their past and ended with sights pointed towards the future.
The dragons have been awakened by their fearless leaders. Mobilization for a brighter future awaits. Tour starts now. Go see them if you can.
For more Sleigh Bells, treat yourself to a YouTube Rabbit hole of their incredible music video catalog before purchasing your show ticket.
Merch sold out before the show started so if you missed your chance, visit the online store.
On December 8, 2017, Devon Allman invited a couple dozen of his closest musical compadres onto the hallowed stage of The Fillmore in San Francisco to perform a three-hour, multi-set concert in tribute to Allman’s late father, Gregg, on what would have been his 70th birthday. The loss of his father, and his mother a few months prior, made music Devon’s medicine, and gave birth to The Allman Family Revival.
Now in its fifth year, The Allman Family Revival has evolved into a full-fledged, coast-to-coast tour. As curator, host, and performer, Allman remains true to the painstaking mission of providing an epic event worthy of its inspiration.
I want to make sure there’s some ‘sonic ginger,’ to cleanse the palette amidst all those guitars. I really enjoy working with the guests individually on setlists to make each show a very special night. It’s a daunting task, for sure, but a labor of love every time.
Devon Allman
Now an annual tradition, Allman Family Revival has grown from an annual celebration in San Francisco to a full fledged coast to coast tour. Based on the format of “The Last Waltz” concert with The Allman Betts Band as the house band, and featuring up to a dozen marquee names in music
This year the touring lineup will include The Allman Betts Band, Robert Randolph, Donavon Frankenreiter, Lilly Hiatt, Cody and Luther Dickinson, Eric Gales, Joanne Shaw Taylor, Jimmy Hall, Lamar Williams Jr. plus many more to be announced.
The Allman Family Revival will also feature Kenny Wayne Shepherd, G. Love, Samantha Fish, Alex Orbison, and Kenny Aronoff in select markets.
Public on-sale begins 9/17. For tickets and all up to date information, visit allmanfamilyrevival.com.
2021 Allman Family RevivalTour dates
11/27 @ The Factory | St. Louis, MO
11/29 @ Majestic Theater | Dallas, TX
12/1 @ Saenger Theater | New Orleans, LA
11/30 @ ACL Live at The Moody Theater | Austin, TX
New York City’s Blue Note Jazz Club has announced the return of multi-Grammy Award-winning artist Robert Glasper to the Blue Note stage for a stacked “Robtober” Fall residency in the heart of Greenwich Village.
From October 1 to November 7, Glasper will perform a total of 66 shows across 33 nights, including Halloween weekend. The run of shows continues Blue Note’s historic 40th anniversary festivities.
Robtober is already shaping into an incredible run of shows with high-caliber guests who are sure to command the stage alongside Robert Glasper.Glasper’s previous Blue Note shows have included tributes to Stevie Wonder, Roy Hargrove and J Dilla. A-list celebrities and unannounced special guests, including Dave Chappelle, Kanye West, Chris Rock, Questlove, Jill Scott, Common, Yasiin Bey and Talib Kweli (Black Star) and Yebba are known to pop by the Blue Note to join Glasper for impromptu performances when he is in town.
In 2018, Glasper became just the 4th musician to hold a month-long residency at Blue Note, joining a short list that includes jazz legends Dizzy Gillespie, Chick Corea and Chris Botti. The residency was spotlighted in the New York Times, which proclaimed that Glasper is “probably the most prominent jazz musician of his generation.”
The Blue Note is special to me because it’s the pinnacle of jazz, but it doesn’t stop there. They allow me to step outside the box and be who I really am, unapologetically. They give me the venue to do it. The first two residences were amazing. We had to take a break but I’m really excited to be back and see my fans again. Not being able to perform for so long made it really clear how important the fans are so I can’t wait to go there and make some more history.
Robert Glasper
Robert Glasper is the leader of a new paradigm in jazz, with a career that pans musical and artistic genres, winning 4 Grammys and 8 nominations across 7 categories, as well as an Emmy for his song on Ava Duvernay’s doc “13th”. October 2021 marks his return to the Blue Note, one of his first jazz stomping-grounds, for another record breaking residency (coined “Robtober”) as he takes over the Blue Note New York with an astounding 66 shows over 33 days, celebrating his musical career. Whilst his style consistently defies definition, Glasper’s residency demonstrate not only different eras, but also various parts of his musical community and the impact his collaborators have had on his development and style.
Alex Kurland, Director of Programming at Blue Note says of Robtober, “This residency is a monumental and historic event within culture, with each show an experience and literally unforgettable. Robert’s residency always produces landmark and extraordinary moments, and to be able to move forward with it after such challenging times is deeply meaningful to the Blue Note, New York City, and to art and music culture. The caliber and range of Robert’s to-be-announced projects, special guests and collaborations, are an incredible testament to his icon status.”
Special guests and daily lineup are coming soon. Purchase tickets here.
The Orchestra Now (TŌN) is not only a visionary orchestra but also a master’s degree program. Founder Leon Botstein’s rich history includes being a Bard College president, conductor, educator, and music historian. Starting this September 11th, this will mark Botstein’s seventh returning season. From world renowned repertoire to exciting new 21st century pieces, this orchestra will perform four different series and three free concerts. A total of 21 programs and 38 performances will be heard through May 22, 2022.
The Orchestra Now has used this pandemic as a way to grow and better their sound where this season will feature 16 new members. If you’re keeping count, that will be a total of 65 musicians from 13 countries. All in all TŌN has performed 489 works by 234 composers in 35 venues since their beginning in 2015.
The ability to perform for a live audience is uncanny. While the Orchestra worked on perfecting digital programs, “Nothing can replace the exhilaration of live performance,” said Music Director Leon Botstein. The pent up excitement of these young performers will be sure to produce exhilarating concerts where after more than 66,000 live and virtual concertgoers, with 237 soloists and 22 conductors, they are more than qualified to perform their best season yet.
We are truly thrilled to resume a direct connection with our audiences
This season will start with the world premiere of Brahmsiana by debut conductor and composer Leonard Slatkin (Sept. 18-19 at the Fisher Center). There is also new work from Scott Wheeler written for violinist Gil Shaham, who will perform at the world renowned Carnegie Hall (Nov. 18) and the Fisher Center (Nov. 13-14). We’ll also hear Dismal Swamp from William Grant Still and Karl Amadeus Hartmann’s Symphony No. 1. This piece was written to describe the treacherous conditions under the Nazi regime and will be performed this May 7th at the Fisher Center and May 12th at Carnegie Hall. Ravel’s Pictures at an Exhibition has been revived as Slatkin created a new arrangement noting its original composition for piano. Award-winning composer Cindy McTee who is conveniently Slatkin’s wife will perform Circuits this September 18-19 at the Fisher Center.
Lutosławski, Perry, and Bristow in addition to Wheeler’s world premiere will be included in the Carnegie Hall series. Musical America’s 2019 Conductorof the Year, Carlos Miguel Prieto will be a guest conductor at Rose Theater at Jazz at Lincoln Center. The Sight & Sound serieswill return toThe Metropolitan Museum of Art which focuses on Beethoven and Cristofori, Stravinsky and Picasso, and Dvořák and Delacroix to illuminate their interrelations between both music and art. Handel’s Messiah, Brahms’ German Requiem will be performed at The Fisher Center series at Bard College along with another 18 concerts along with Brahmsiana’s debut. To gain a larger audience, TŌN offers three free concerts to help attract those who normally wouldn’t find themselves listening to classical music at Peter Norton Symphony Space in Manhattan with resident conductor Zachary Schwartzman. They hope that this will influence the future generations that will carry their love for classical music through the decades. To dazzle new concert goers repertoire from Mozart, Schumann, and Dohnányi will be played at Hudson Hall in Hudson, NY.
Now if you will be missing TŌN’s Orchestra’s Fisher Center series you can always tune in. Don’t forget that TŌN can be heard on WMHT-FM, the classical music radio station of New York’s Capital Region and WWFM, the Classical Network station catering to New Jersey and eastern Pennsylvania. TŌN’s performances are also heard regularly on American Public Media’s Performance Today.
CARNEGIE HALL SERIES, Stern Auditorium / Perelman Stage
Gil Shaham & Julia Perry Thu, Nov 18, 2021 at 7 PM
Leon Botstein, conductor
Gil Shaham, violin
Scott Wheeler: New work (World Premiere)
Julia Perry: Stabat Mater
George Frederick Bristow: Symphony No. 4, Arcadian
Renowned violinist and Bard Conservatory of Music faculty member Gil Shaham joins the Orchestra for the world premiere of a new piece written for him by multi-award-winning composer, conductor, pianist, and teacher Scott Wheeler. Currently Senior Distinguished Artist-in-Residence at Boston’s Emerson College, Wheeler’s works have been commissioned by the Metropolitan Opera and performed by such artists as Renée Fleming and Kent Nagano. Black American composer Julia Perry’s dramatic Stabat Mater, a setting of the 13th-century medieval poem “Stabat Mater Dolorosa,” describes the crucifixion of Christ from the viewpoint of the Virgin Mother and is dedicated to Perry’s mother. Also on the program is George Frederick Bristow’s rarely-heard Arcadian Symphony. A Brooklyn native and noted choral composer, Bristow frequently wrote music with American themes—his Symphony No. 4 was originally titled The Pioneer. It will be the first Carnegie Hall performances of Perry’s Stabat Mater and Bristow’s complete Symphony No. 4.
New Voices from the 1930s
Thursday, May 12, 2022 at 7 PM
Leon Botstein, conductor
Gilles Vonsattel, piano
Frank Corliss, piano
William Grant Still: Dismal Swamp
Carlos Chávez: Piano Concerto
Witold Lutosławski: Symphonic Variations
Karl Amadeus Hartmann: Symphony No. 1, Essay for a Requiem
The rarely-heard masterpieces in this concert spotlight works from the late 1930s, including William Grant Still’s evocative portrait of enslaved people taking refuge while seeking freedom, and Karl Amadeus Hartmann’s commentary on conditions under the Nazi regime. The program also features Mexican Symphonic Music Director and composer Carlos Chávez’s virtuosic Piano Concerto, called “imaginatively scored” and praised for its “elemental strength” and the “originality of its orchestral coloring” by The New York Times at its 1942 premiere. Leading progressive Polish music composer Witold Lutosławski’s adventurous Symphonic Variations was written while he was still a student at Warsaw University. His first substantial orchestral work, the Variations contain many folk-like themes.
ROSE THEATER
The Orchestra Now returns to Rose Theater at Jazz at Lincoln Center’s Frederick P. Rose Hall for the fifth season.
Prieto, Falla & Debussy
Sunday, October 31, 2021 at 3 PM
Carlos Miguel Prieto, conductor
Solange Merdinian, mezzo-soprano
Messiaen: Le tombeau resplendissant (The Resplendent Tomb)
Debussy: La Mer (The Sea)
Falla: El Sombrero de Tres Picos (The Three-Cornered Hat)
José Pablo Moncayo: Huapango
Mexican conductor Carlos Miguel Prieto, Musical America’s 2019 Conductor of the Year and music director of the Orchestra of the Americas, leads TŌN in a diverse program that includes Manuel de Falla’s vivid and eloquent ballet score Sombrero de Tres Picos, Debussy’s powerful La Mer, and a work by Spanish composer María Teresa Prieto.
SIGHT & SOUND SERIES AT THE METROPOLITAN MUSEUM OF ART
The Grace Rainey Rogers Auditorium
Conductor and music historian Leon Botstein surveys the parallels between orchestral music and the visual arts with three concerts in TŌN’s popular Sight & Sound series at The Metropolitan Museum of Art. This season explores the connections between Beethoven’s fascination with the emergence of the first piano; an interest in unconventional artistic and musical forms shared by Stravinsky and Picasso; and the European fascination with the peoples of the New World as expressed by MacDowell, Dvořák, and Delacroix. In each program, a discussion is accompanied by on-screen artworks and musical excerpts performed by the Orchestra, followed by a full performance and audience Q&A.
Beethoven, Cristofori & the Piano’s First Century
Sunday, December 5, 2021 at 2 PM
Leon Botstein, conductor
Shai Wosner, piano
Beethoven: Piano Concerto No. 5, Emperor, and Cristofori’s 1720 Grand Piano
At the dawn of the 18th century, Italian instrument maker Bartolomeo Cristofori created what would come to be known as the piano. A century later, it was clear that the instrument would become the defining instrument of Western musical culture. Beethoven’s “Emperor” Piano Concerto reveals the composer’s obsession with the musical possibilities emerging from the rapidly evolving technology of piano construction.
Stravinsky, Picasso & Cubism
Sunday, February 20, 2022 at 2 PM
Leon Botstein, conductor
Blair McMillen, piano
Stravinsky: Concerto for Piano and Winds and Picasso’s Man with a Guitar
Upon settling in Paris in the 1920s, Igor Stravinsky formed close friendships with artists like Pablo Picasso, a founder of Cubism, which sought to deconstruct the familiar and reassemble reality through a disciplined, formal approach. The movement inspired Stravinsky to develop a new approach to the construction of musical forms. He loved to perform his Concerto for Piano and Wind Instruments, one of his earliest “neo-classic” masterpieces.
Dvořák, MacDowell & Delacroix: The New World
Sunday, April 10, 2022 at 2 PM
Leon Botstein, conductor
Edward MacDowell: Suite No. 2, Indian, Dvořák: New World Symphony, second movement, and Eugène Delacroix’s The Natchez
From their earliest encounters in the New World, Europeans were mesmerized by the indigenous peoples of North America. French artist Eugène Delacroix painted a Natchez family as they fled the massacre of their tribe up the Mississippi River. Edward MacDowell’s Indian Suite incorporated native melodies and rhythms, and the second movement of Antonín Dvořák’s New World Symphony was inspired by Longfellow’s poem on Hiawatha.
THE FISHER CENTER SERIES AT BARD, Sosnoff Theater
The Orchestra Now’s residency at Bard College’s Fisher Center renews with 18 concerts and nine different programs including special performances of Handel’s Messiah and the Brahms Requiem, and the debut of conductor Leonard Slatkin with TŌN.
Shostakovich & Dawson
Saturday September 11, 2021 at 8 PM
Sunday September 12, 2021 at 2 PM
Leon Botstein, conductor
William L. Dawson: Negro Folk Symphony
Shostakovich: Symphony No. 7, Leningrad
William L. Dawson said of his emotionally charged Negro Folk Symphony that he wanted listeners to know it was “unmistakably not the work of a white man.” The work is paired with Shostakovich’s enormous and patriotic Seventh Symphony, Leningrad, written largely after he had fled the city following the German invasion during WWII.
Slatkin Conducts Brahmsiana
Saturday, September 18, 2021 at 8 PM
Sunday, September 19, 2021 at 2 PM
Leonard Slatkin, conductor
Cindy McTee: Circuits
Brahms: Brahmsiana arr. Leonard Slatkin (World Premiere)
Mussorgsky: Pictures at an Exhibition, Leonard Slatkin’s new arr. of Ravel’s orchestration
Internationally acclaimed conductor Leonard Slatkin makes his debut with TŌN, leading the world premiere of his own arrangement of Brahms melodies, Brahmsiana, and his new arrangement of Pictures at an Exhibition, which takes Ravel’s famous orchestration and reinstates portions of Mussorgsky’s original. The concert opens with Circuits, written by award-winning composer Cindy McTee.
Strauss’ Merry Pranks & Bruckner’s Fifth
Friday, October 1, 2021 at 8 PM
Saturday, October 2, 2021 at 5 PM
Leon Botstein, conductor
R. Strauss: Till Eulenspiegel’s Merry Pranks
Bruckner: Symphony No. 5
Richard Strauss’ audience favorite Till Eulenspiegel’s Merry Pranks, which chronicles the misadventures of the practical jokester and German peasant folk hero, is presented in contrast to Anton Bruckner’s massive Fifth Symphony, which was performed only once during the composer’s lifetime. He died having never heard it.
Gil Shaham & Julia Perry
Saturday,November 13, 2021 at 8 PM
Sunday, November 14, 2021 at 2 PM (see program description for Nov 18 Carnegie Hall performance)
Leon Botstein, conductor
Gil Shaham,violin
Scott Wheeler: New Work (World Premiere)
Julia Perry: Stabat Mater
George Frederick Bristow: Symphony No. 4, Arcadian
Handel’s Messiah
Saturday December 11, 2021 at 8 PM
Sunday, December 12, 2021 at 2 PM
Leon Botstein, conductor
Vocal soloists from Bard’s Graduate Vocal Arts Program to be announced
Bard Festival Chorale, Bard College Chamber Singers
Handel: Messiah
Leon Botstein leads The Orchestra Now, soloists from Bard’s Graduate Vocal Arts Program, the Bard Festival Chorale, and the Bard College Chamber Singers in a performance of one of the most popular oratorios of all time.
Tchaikovsky, William Tell & The Little Mermaid
Saturday, February 5, 2022 at 8 PM
Sunday, February 6, 2022 at 2 PM
Leon Botstein, conductor
Rossini: William Tell Overture
Alexander Zemlinsky: The Little Mermaid
Tchaikovsky: Symphony No. 6, Pathétique
The spring 2022 season unfolds with a concert of such audience favorites as Rossini’s iconic William Tell Overture and Hans Christian Andersen’s fairy tale The Little Mermaid, richly orchestrated by Austrian composer Alexander Zemlinsky. The program closes with Tchaikovsky’s final completed symphony, the Pathétique, which the composer called his “Passionate Symphony.”
Clara Schumann & Brahms’ German Requiem
Saturday April 2, 2022 at 8 PM
Sunday, April 3, 2022 at 2 PM
Leon Botstein, conductor
Anna Polonsky, piano
Vocal soloists from Bard’s Graduate Vocal Arts Program to be announced
Bard Festival Chorale, Bard College Chamber Singers
Clara Schumann: Piano Concerto
Brahms: A German Requiem
Clara Schumann began writing her memorable Piano Concerto when she was just 14 years old, already a prodigy on the instrument. This virtuoso work will be performed by acclaimed pianist Anna Polonsky. Later in life, Schumann was close friends with Johannes Brahms. She said his German Requiem “is an immense piece that takes hold of one’s whole being like very little else.”
Joseph Young & Rachmaninoff
Saturday, April 23, 2022 at 8 PM
Sunday, April 24, 2022 at 2 PM
Joseph Young, conductor
Julia Perry: A Short Piece for Orchestra
Rachmaninoff: Symphony No. 3
Julia Perry’s riotous Short Work for Orchestra was recorded by the New York Philharmonic in 1965. While much of her work has been neglected, she was a winner of the Boulanger Grand Prix for her Viola Sonata. Rachmaninoff’s rhythmically expressive Symphony No. 3 concludes the program. Guest conductor Joseph Young, Music Director of the Berkeley Symphony and Resident Conductor of the National Youth Orchestra–USA at Carnegie Hall, leads the Orchestra.
New Voices from the 1930s
Saturday, May 7, 2022 at 8 PM
Sunday, May 8, 2022 at 2 PM (See program description for May 12 Carnegie Hall performance)
Leon Botstein, conductor
Gilles Vonsattel, piano
Frank Corliss, piano
William Grant Still: Dismal Swamp
Carlos Chávez: Piano Concerto
Witold Lutosławski: Symphonic Variations
Karl Amadeus Hartmann: Symphony No. 1
FREE CONCERTS SERIES
TŌN continues its series of free concerts at venues in New York City and beyond, providing families with an opportunity to attend their first orchestral performance and introduce a new generation to classical music.
Britten, Sibelius & Tan Dun
Sunday, Dec 19, 2021 at 4 PM, at Peter Norton Symphony Space, New York City
Zachary Schwartzman, conductor
Berlioz: Roman Carnival Overture
Britten: Four Sea Interludes from Peter Grimes
Tan Dun: Symphonic Poem of Three Notes
Sibelius: Symphony No. 5
Mozart & Schumann’s Spring Symphony
Saturday, March 19, 2022 at 7 PM, at Hudson Hall, Hudson, NY
Andrés Rivas, conductor
Soloists to be announced
Mozart: Sinfonia Concertante for Four Winds
Ernő Dohnányi: Concertino for Harp and Chamber Orchestra
Schumann: Symphony No. 1, Spring
Liszt & Bartók
Sunday, May 22, 2022 at 4 PM, at Peter Norton Symphony Space, New York City
Live Music Society, a nonprofit philanthropic organization has announced a third round of grants to be awarded this fall to live music venues across the United States. These grants benefit small venues with a maximum sellable capacity of 300, and has supported venues including Bowery Electric, Caffe Lena and Levon Helm’s Barn, among others.
Founded in 2020, Live Music Society is committed to awarding $1,000,000 dollars per year in grants to venues that promote and preserve the live music experience in intimate settings. These small venues allow artists of all levels and all genres to get their start, connect with their audiences and maintain their careers as performers. Individual grants range from $10,000-$50,000, and over the two initial rounds of grants, Live Music Society has awarded thirty-six venues in twenty-nine cities grants totaling over $1.2 million.
Small, live music venues throughout the U.S. are owned and operated by music-lovers who are tirelessly devoted to their community, their staff, and their artists. Without small music clubs, so many of our most promising artists wouldn’t have a place to share their work, hone their craft, and build their audiences. Throughout the Covid-19 pandemic, many of these clubs have been fighting to keep their doors open. Live Music Society is focused on making sure these wonderful spaces stay solvent and independent. It is time to acknowledge and support the great efforts that these venues have made to keep our communities connected and vibrant through the gift of live music.
Live Music Societyfounder Pete Muller
Live Music Society encourages small venues with 50-300 sellable seats prior to COVID-19, established on or prior to July 1, 2017, to apply. Venues must be committed to live music as their primary activity to be eligible. Grant applications will be accepted from September 28 – October 20, 2021 via the organization’s website.
Prior grantees include:
Ivy Room (Albany, CA)
Ashkenaz Music & Dance Community Center (Berkeley, CA)
Angélique Kidjo will return to Carnegie Hall on November 5, headlining the Stern Auditorium/Perelman Stage. This special one-night-only presentation is entitled Mother Nature: Songs For New York and the World Beyond. With a setlist focused on Kidjo’s just-released and trenchant new album, Mother Nature, and special guests, the performance will pay timely tribute to resilient New Yorkers and also serve as a rallying cry for the planet.
The Carnegie Hall performance will be the first full New York City performance for Angélique Kidjo in nearly two years. In March of 2020 she was slated to perform at Carnegie Hall as part of her four-concert Perspectives Series at the legendary venue, but just a day before she was set to take the stage, it was cancelled as the city went into lockdown due to the pandemic.
Kidjo has had an impressive summer, releasing Mother Nature, her first album of original music in seven years to widespread international praise. The album represents the remarkable influence that Kidjo has had on younger generations of musicians, and features collaborations with a host of budding stars including Burna Boy, Sampa The Great, Yemi Alade, Shungudzo, Ghetto Boy, Earthgang and others. Together they address a host of complex issues, from political upheaval to the destruction of the environment, that in Kidjo’s hands transform into music that is radiantly joyful.
This one-of-a kind performance of Mother Nature: Songs For New York and the World Beyond, will feature world renowned artists including Josh Groban, Andra Day, Cyndi Lauper, Philip Glass, EARTHGANG, and Ibrahim Maalouf. The programis a musical rallying cry for our planet, exploring the great importance of human beings to each other and to the natural world.
Kidjo also represented the continent of Africa during the Tokyo 2020 Olympics Opening Ceremony, singing “Imagine” alongside John Legend, Alejandro Sanz and Keith Urban. She will also perform from Paris as part of the 24-hour Global Citizen Festival broadcast event on September 25.
Tickets are on sale here for Angélique’s show at Carnegie Hall on November 5.
Angélique Kidjo International Tour Dates 2021-22
Friday September 10, 2021: Parc Des Expositions L’ile Aumone in Mantes-la-jolie, France Friday September 11, 2021: Parvis des Chais Magelis in Angoulême, France Thursday September 23, 2021: Théâtre de Cornouaille in Quimper, France Sunday September 26, 2021: Palace of Arts and Congress in Vannes, France Saturday October 23, 2021: Flynn Center For The Performing Arts in Burlington, VT Friday October 29, 2021: Remain in Light in Berkeley, CA Friday November 5, 2021: Stern Auditorium / Perelman Stage at Carnegie Hall in New York, NY Wednesday November 17, 2021: Rosey Concert Hall in Rolle, Switzerland Friday November 19, 2021: Kilden Performing Arts Centre in Kristiansand, Norway Saturday November 20, 2021: Bærum Kulturhus in Sandvika, Norway Thursday November 25, 2021: Hall Vigean in Eysines, France Saturday November 27, 2021: Festival un Weekend Avec Elles 2021 in Le Garric, France Tuesday November 30, 2021: The Concertgebouw in Amsterdam, Netherlands Monday December 6, 2021: Wiener Konzerthaus in Bezirk-landstrasse, Austria Saturday December 18, 2021: Théâtre du Jura in Delémont, Switzerland Tuesday January 11, 2022: Chateau Rouge in Annemasse, France Friday January 14, 2022: Espace Malraux in Joué-lès-tours, France Tuesday March 8, 2022: L’Ancienne Belgique in Toulouse, France Friday March 11, 2022: La Faïencerie in Creil, France Wednesday March 16, 2022: Musikverein in Wien Austria Thursday March 17, 2022: Festspielhaus St. Pölten in St. Pölten, Austria Saturday March 19, 2022: Theater of Chelles in Chelles France Thursday March 24, 2022: Theatre of the Vesinet in Le Vésinet, France Friday March 25, 2022: Arsenal in Metz, France Sunday April 3, 2022: Scottsdale Center for the Performing Arts in Scottsdale, Arizona Saturday April 23, 2022: Yemandja in Berkeley, CA Saturday April 30, 2022: Music Hall in Portsmouth, NH Thursday May 12, 2022: Bass Concert Hall in Austin, TX Thursday May 26, 2022: Africa Festival in Würzburg, Germany Saturday June 11, 2022: Théâtre du Châtelet in Paris France
Halsey dropped her powerful new album If I Can’t Have Love, I Want Power which was produced by Nine Inch Nails member Trent Reznor on August 27, 2021. With Reznor and Atticus Ross producing the album it transcends through multiple genres bringing industrial, rock, grunge, and pop all together and takes risks all along the way. The album’s release coincides with an hour-long IMAX film under the same name that features Halsey in the lead role and features music from the album.
If I Can’t Have Love, I Want Power album cover.
Ashley Nicolette Frangipane, or more commonly known for their stage name Halsey, was born and raised in Edison, New Jersey. They spent much of their young adulthood visiting NYC and ended up living in Manhattan briefly before getting their big break with their song “Ghost” which was released on her soundcloud and ended up gaining lots of popularity. They ended up signing with Astralwerks because of their offer of retaining creative control. She debuted her first EP titled Room 93 on October 28, 2014. Since then they have released four albums titled Badlands on August 28, 2014, Hopeless Fountain in Kingdom on June 2, 2017, Manic on January 17, 2020 and finally her newest album If I Can’t Have Love, I Want Power on August 27, 2021.
Halsey’s original album, Badlands, fell into the indie-pop realms but her next two albums seemed to be more or less strictly pop. Halsey has never been one to cater to the audience and refuses to be anything but themselves. This album though takes more risks than the previous albums both is subject matter and musically. If I Can’t Have Love, I Want Power steps away from the pop sound Halsey has become known for to make way for something different and I would argue better. The album is stronger and has more depth to it than her previous albums and really feels like Halsey has come into their true sound.
Although the album as a whole was very good there were a couple songs that stole the show and were definitely the stars of the album. “Easier than Lying” was one of those songs that really pushed the album to being a bop. You can definitely hear the influence of Reznor in this song. It is probably the hardest song Halsey has released. The continuous leading drum line combined with the distorted heavy bass line in combination with Halsey’s harder and grungier voice is a new sound for the artist and it suits them perfectly. Listening to it you never would have thought this was a new sound for them if you didn’t already know this was a step away from their pervious sound. It feels natural and like the sound she was meant to make.
Another song that really made the album was “Girl is a Gun.” It uses a continuous leading drum line and a bouncy bass line combined with synth to make a song where, without even trying to, the listener finds them self bobbing along to it. It has a 90s drum and bass feel that’s addicting. It’s not as hard as “Easier than Lying” but definitely pushes Halsey out of the strictly dickly pop realms they have been more known for before this album. It’s catchy chorus and driving beat make it the kind of song where if it came up on your recommended playlist you would be checking to see who it was by and saving the song before it’s even over.
The last song that has to be mentioned is “Darling.” This song isn’t like any other on the album. It features a simple fingerpicking guitar and Halsey doing harmonies with it for the majority of the song. It’s not hard but it’s a risk. It’s not flashy but it’s honest. It makes you feel the bittersweetness of life and the hope and love for new life. The song is definitely a nod to Halsey’s child who was born shortly before the album’s release and to which they were pregnant with during the making of the album. The simplicity of it musically gives the chance for the lyrics to really be the star of the song and make the listener really focus on what Halsey is feeling.
Although you should really listen to the entire album in order, if you are looking to checkout a song or two to see if it’s your cup of tea, any of these would be a great place to start. Anytime an artist changes up their sound it is a risk for them especially when they are moving away from a classically popular sound to something else. Not every attempt is successful. Halsey has taken this leap of faith and has landed with flying colors.
The full album is available on all streaming platforms. The accompanying film is available via Global IMAX. Showings, available dates, and locations can be found here.
It was a calm, quiet Wednesday night in Greenwich Village, Manhattan. With the streets hardly packed, some headed home to end their evenings early, others made their way to the Subway for their night shifts, while scattered groups searched for a potential brouhaha to jumpstart their night. New York City has a suis generis aura because not only is it one of the world’s marquee Metropolitis, but it is also the cultural hub of the world. And on any given night something amazing could be happening around the corner.
Such was the atmosphere inside the intimate setting of Blue Note Jazz Club. Founded in 1981, Blue Note’s motto is centered around preserving the history of jazz, according to their website. “The club is a place where progression and innovation – the foundations of jazz – are encouraged and practiced on a nightly basis…while regularly showcasing up-and-coming jazz, soul, hip-hop, R&B and funk artists” and has seen the likes of Stevie Wonder, Tony Bennett, Liza Minelli, and Quincy Jones grace their stage.
But on this night, Blue Note did not play host to any developing talent, but rather two established hip hop legends. For two consecutive nights on August 24 & 25, GZA of the Wu Tang Clan headlined the culturally historic club accompanied by Talib Kweli and of course live music as the Phunky Nomads shared the stage with the two hip hop greats.
Thus, on a cozy summer night the two Brooklynite’s performed a medley of records that reminded those in attendance of a simpler time in the world. Fans lightly serenaded the club, singing along to some of GZA and Wu Tang Clan’s more recognizable records and even some album cuts.
GZA is a master of his craft, so it came as no surprise that he had memorized not only his rhymes, but those of his groupmates as well, performing several verses from the deceased Ol’ Dirty Bastard and other Clan members. In one sequence in particular, the Liquid Swords emcee began performing the Clan’s hit record, “Triumph.” You know, the one where Inspectah Deck “lyrically performs armed robbery” before transitioning into “Shame on a N***a” and performing ODB’s verse.
The live music only added to the atmosphere as the Phunky Nomads took command of each record, seamlessly sequencing between jazz, classical, funk, hip hop and rock instrumentation. They made each record their own, evident when GZA began performing “C.R.E.A.M.” backed with classical sounding music (They even did a rendition of The O’Jays’ “For The Love of Money”). Their choice of musical direction often kept the audience on edge, wondering what new possible twist they would put to classic Clan records.
The Central Park “We Love NYC: The Homecoming Concert” was cut short Saturday, August 21 due to approaching Hurricane Henri. The announcement was made over the PA system in the middle of singer Barry Manilow’s set. Those in attendance were urged to move to the nearest exits and “proceed to outside of the park.”The concert was originally scheduled from 5pm to 10pm, but was abruptly shut down just after 8pm.
Despite the rain, concert organizer and music mogul Clive Davis along with Mayor De Blasio desperately tried to get the show restarted. Unfortunately it was to no avail as the rain was at its heaviest during 9pm and 10pm (a record-setting rainfall for Central Park). The concert was supposed to be the grand finale after a week of other homecoming concerts throughout the city.
Although We Love NYC concert was cut short, the 60,000 fans in attendance still got to witness some pretty amazing performances. “CBS This Morning” host Gayle King kicked off the show by introducing the New York Philharmonic. They performed a bunch of New York themed instrumentals including Billy Joel’s “New York State of Mind” featuring Billy’s former saxophone player Richie Cannata, and “Theme From New York, New York” made famous by Frank Sinatra. Then italian tenor Andrea Bocelli, who himself had a recent battle with covid, joined the Philharmonic for beautiful renditions of “You’ll Never Walk Alone” and “O Sole Mio”. Before leaving he told the crowd “After a storm comes always the sun.” It was an emotional moment.
Also joining the Philharmonic was Jennifer Hudson who stars as Aretha Franklin in the new biopic “Respect.” As a tribute to “The Queen of Sole” she performed “Nessun Dorma” which Franklin sang at the 1998 Grammy Awards as a last minute replacement for Luciano Pavarotti. Jennifer did not disappoint. It was a wonderful tribute that Aretha herself would have been proud of.
At this point the man of the hour himself, Clive Davis came out and greeted the crowd. He also introduced one of his good friends Carlos Santana who performed “Maria, Maria” with Wyclef Jean. He also performed the 1999 hit “Smooth” with Rob Thomas.
Singer Kane Brown also made a quick appearance. He performed his 2018 hit “Homesick” as well as his 2020 single “Be Like That.”
Senator Chuck Schumer was also on hand. He introduced Journey who also played Jones Beach Theater the same night at the Never Forget 9/11 concert. There performance was explosive as lead singer Arnel Pineda belted out “Any Way you Want It” and “Don’t Stop Believing.” Yet another memorable moment.
Perhaps the best performance of the night goes to grammy award winner and hip hop legend L.L. Cool J. His set tuned into a hip hop lovers trip down memory lane. He was joined by fellow legend Rev Run as they performed the Run-DMC classic “It’s Tricky.” He also brought out Grandmaster Flash and the Furious Five’s Scorpio and Melle Mel and performed one of the earliest hip hop songs ever recorded “The Message.” Other hip hop stars like Busta Ryhmes, Spliff Star, Fat Joe, Remy Ma, French Montana and A Boogie also contributed to Uncle L’s set.
Then, “The Late Show” host Stephen Colbert came out and introduced Jon Batiste. He only performed one song, “Freedom”, but it was fantastic.
Perhaps the least favorite guest of the night was New York City Mayor Bill de Blasio. The 60,000 strong crowd greeted him with a round of boo’s, but he was able to get them back and he and his wife introduced the next performers Earth, Wind and Fire. They had recently released a new version of their hit song “You Want My Love” and performed it live for the first time with R&B start Babyface. They also sang their 1978 hit “September” with Babyface and Lucky Daye.
At this point of the show, we were starting to get warnings about the incoming weather as plastic tarps were brought out and put over the cameras and other equipment. Cnn anchor Don Lemon came out at this point and introduced Barry Manilow who was cut off in the middle of “Can’t Smile Without You.” It was just a few minutes later that the heavens opened up and New York City experienced the heaviest rain it has seen in years.
Still scheduled to perform was The Killers, Patti Smith with Bruce Springsteen, and Paul Simon who was waiting in his nearby apartment for word on weather the concert was going to resume. Unfortunately it did not resume but now Mayor De Blasio and Clive Davis are in talks to discuss a possible We Love NYC 2.0 Concert in the near future. NYSMusic.com will keep you up to date as soon as any new developments are made.
